Videogames: The Sims FreePlay part 3 - Representation

Videogames: The Sims FreePlay part 3 - Representation

Textual analysis

Re-watch some of the expansion pack trailers and answer the following questions:

1) How do the expansion pack (DLC) trailers reinforce or challenge dominant ideologies?

The DLC's reinforce dominant ideologies linked to capitalism, working to support/sustain a high quality lifestyle.

2) What stereotypes have you identified in The Sims FreePlay?

Majority of the relationships shown in the games adverts are heterosexual. This could show that the game producers are stereotyping that a relationship should be amongst two people of the opposite genders. They also show diversity as they have characters of different colours, shapes and sizes to choose from which challenges stereotypes as in most other popular videogames, the characters are predominantly white.  

3) What media theories can you apply to representations in The Sims FreePlay?

- Gramsci: Marxism and Hegemony- Reinforces traditional ideologies surrounding capitalism and the economy through the Sims.

- Van Zoonen: Sex-role stereotypes- The opposing sex's roles differ but support ideologies of the 'Golden Age', being traditional.

Representation reading

Read this Forbes article on gender and racism in The Sims franchise and answer the following questions:

1) How realistic does The Sims intend to be?

Sims is somewhat realistic as the game is based around creating a realistic yet preferred lifestyle. However, some things within the game may be seen as unrealistic as the game blurs out some of the bad things in life and makes everything seem positive and simple which isn't how it works in the real world. But that is one of the game play elements and creates audience pleasure. 

2) How has The Sims tried to create more realistic representations of ethnicity?

The Sims has attempted to create more realistic representations of ethnicity by including loads of different ethnic backgrounds in the section where you create characters as players now have a wide range to choose from. 

3) How has The Sims responded to racism and sexism in society?

They have responded to it by making all characters equal and making all races and genders available to players to choose from putting everyone at an equal level and spreading equality. In the games adverts we can also see a few interracial couples which reinforces equality and showing we're all one regardless or race and ethnicity.   

4) What is The Sims perspective on gender fluidity and identity?

Players only have a choice of choosing between male or female at the moment which doesn't show much gender fluidity and some players may not feel a sense of belonging if they do not identify themselves as either of those genders. 

5) How does The Sims reinforce the dominant capitalist ideologies of American culture?

It reinforces the idea that if you work hard you will achieve greatness and also constantly shows the path of going to school getting a job and providing for your family which are capitalist ideologies.

Read this New Normative feature on LGBTQ representation in The Sims franchise and answer the following questions:

1) How did same-sex relationships unexpectedly help the original Sims game to be a success?

Because The Sims predominantly showed heterosexual relationships only previously which may have caused a bit of controversy amongst the LGBTQ+ community but now that they have same-sex relationships people belonging to the LBGTQ+ community can also play the game and feel like they can relate.

2) How is sexuality now represented in The Sims?

One of their new goals is to now show their support to the LGBTQ+ community and show more fluid relationships in their game. 

3) Why have fans praised the inclusion of LGBTQ relationships in The Sims franchise?

It shows acceptance in the community and how it is becoming more and more normalised to be in a same-sex relationship. Incorporating this in videogames allows people from LBGTQ+ community have something that they can play and be able to relate to as there aren't really any other games that they could play and feel a sense of belonging to. 

4) Why did the Sims run into regulatory difficulties with American regulator the ESRB? How did EA respond?

They ran into regulatory difficulties with ESRB as they didn't have any guidelines on same sex support.

5) How is sexuality represented in the wider videogames industry today?

More and more games are showing their support towards the LGBTQ+ community today as you come across a lot more gay or lesbian relationships amongst characters in games now then ever before although some gamers are still a bit behind and lack this element to their game. 

Reality, postmodernism and The Sims

Read this Paste Magazine feature on reality and The Sims franchise. Answer the following questions:

1) What does the article suggest about the representation of real life in The Sims 4?

It suggests that Sims 4 doesn't have the same excitement as the Sims 3; Sims 4 is seen to be too real and the writer questions how one can 'escape from real life' when they are constricted in a game that requires them to live a normal life which defeats the initial purpose of the game.

2) What audience pleasures did the writer used to find in The Sims franchise?

3) Why the does the writer mention an example of a washer and dryer as additional DLC?

She didn't use the additional DLC as she felt it was too similar to real life and it's things that you wouldn't usually get pleasure from doing in your normal life so she argues why would you want to do it in a game that you play in order to feel a sense of escapism. 

4) In your opinion, has The Sims made an error in trying to make the franchise too realistic?

I think trying to make the game more realistic defeats the purpose of the initial game as a lot of players enjoyed playing the game because of the escapism and fantasy within the game. 

5) How does this representation of reality link to Baudrillard’s theory of hyperreality - the increasingly blurred line between real and constructed?

One of the games main goals is to blur out the line between reality and what's a game which could be used as evidence to back up Baudrillard's theory on hyperreality. 

The Sims FreePlay social media analysis

Analyse The Sims FreePlay Facebook page and Twitter feed and answer the following questions:

1) What is the purpose of The Sims FreePlay social media channels?

It gives them a place to promote their game and new updates that they have for free. They can choose what type of audience they promote these things to, to ensure they reach their target market and simply allows them to share any information they wish to with their followers.

2) Choose three posts (from either Twitter or Facebook) and make a note of what they are and how they encourage audience interaction or response.

https://twitter.com/rachybop/status/1236403782961041409 - a seasonal edition linked to Easter. 

https://twitter.com/TheSimsFreePlay/status/1236562367095410690 - shows a few different sims characters that could attract new players in.

https://twitter.com/TheSimsFreePlay/status/1236121648174161922 - shows a marketing strategy they've used to build anticipation amongst audience for the games new update.

3) Scroll down the Facebook feed briefly. How many requests for new content can you find from players? Why is this such as an important part of the appeal for The Sims FreePlay?

Audiences are constantly asking for newer content which is evident when scrolling through their Facebook page. This shows the dedication that players and also how 'addicted' they are to the game seeing as they're constantly demanding new content. A lot of players also want to see newer features being brought into the game making the game more diverse for more different audience.

4) What tweets can you find in the Twitter feed that refer to additional content or other revenue streams for EA?

They have a lot of links which take audience to advertisements for other products or different version of Sims, upcoming events, competitions etc. 

5) Linking to our work on postmodernism, how could The Sims FreePlay social media presence be an example of Baudrillard’s hyperreality and simulacra?

Because even when players aren't actively on the app playing the game, they can things circulating around it on their social media which makes it come to a point where the game plays a big part of their real life. This is when the line gets blurred between reality and the game. 

Videogames: The Sims FreePlay part 2 - Industries

Videogames: The Sims FreePlay part 2 - Industries

Regulation – PEGI

Research the following using the PEGI website.

1) What is the VSC and how does it link to UK law?

The VSC Rating Board is an Administrator of the PEGI age rating system which is used in over 30 countries throughout Europe.  In 2012 the PEGI system was incorporated into UK law and the VSC was appointed as the statutory body responsible for the age rating of video games in the UK using the PEGI system. 

2) Note down the key statistics on the homepage.

- 13938+ Games Rated
- 15141+Apps Rated
- 1702 Number of Member Outlets
- 30 Years in Operation

3) What is the purpose of PEGI?

It gives an age rating for games depending on the content it involves and how appropriate it would be for each age range. 

4) Click on the PEGI Rating tab in the top menu. What are the age ratings and what do they include?

PEGI 3

-Majority of games within this category don't contain anything that requires a rating or warrants a content warning

PEGI 7

-Any game that would normally be rated a 3 but contains some possibly frightening scenes or sounds may be considered suitable in this category

PEGI 12

-More detailed and realistic looking violence towards fantasy characters is allowed. Any violence towards human characters is must look unrealistic. Mild swearing. Sexual posturing.

PEGI 16

-Mature and realistic violence against humans, heavily deal with death and injury. Sexual activity but no visible genitals. Bad language with sexual expletives as well as prominent use of tobacco, alcohol and illegal drugs. 

PEGI 18

-Heavily realistic severe violence, graphic with blood and gore. Glamorise use of drugs and descriptions of criminal techniques. Sexual activity with visible genitals.

5) Scroll down to look at the ‘How games are examined’ infographic. What is the PEGI process for rating a game?

#1 Content Declaration Assessment 

PEGI assessment where the game developer declares in detail what the game contains. Covering elements such as violence, bad language, sex and drug use. After assessment completion the developer is provided with a provisional rating

#2 Submission Materials

The developer provides evidence for their assessment answers which includes video footage and a copy of the game

#3 Video Footage Examination

The video footage is then assessed and analysed to see if there was anything missed or misinterpreted from the questionnaire before examining the game itself

#4 Game Examination

Testing the game itself is to try out things that may not have been shown in the video. For instance investigating the physical effects of different weapons or exploring the ways your character can be harmed

#5 Receiving The PEGI Licence

The ‘Freemium’ gaming model

Read this Lifewire feature on freemium gaming and answer the following questions:

1) How does the freemium model work?

A freemium app is free to download and play but includes in-app purchases where you need to pay in order to unlock certain things.

2) Why do some gamers believe freemium is ruining games?

Freemium games like Sims take longer for the game to move on with players having to wait for changes that you chose to happen for a long time if they don't pay for it which means it takes longer to see progress in the game. Some gamers may also find it misleading when freemium games have in-app purchases as they downloaded it being a free game and now they're being asked to make purchases.

3) What are the positives of the freemium model for gaming?

Some players wouldn't be willing to or don't have the facilities to purchase games so it gives them a chance to still enjoy gaming without having to pay for the game in general as in-app purchases are optional. 

Now read this Business Insider feature on freemium gaming and multiplayer games. Answer the following questions:

1) Note the key statistics in the first paragraph.

- Freemium games and their in-app purchases account for about 70-80% of the $10bn or more in iOS revenue each year.

2) Why does the freemium model incentivise game developers to create better and longer games?

Unless games that you initially pay for to buy and play, having in-app purchases with freemium games makes players constantly make purchases and spend money meaning game developers are able to see a lot of revenue and they're able to therefore put the retained profit towards developing the game(s) even more to better them.

3) What does the article suggest regarding the possibilities and risks to the freemium model in future?

- The possibility of addiction by some players can occur, usually without the players knowing of it.

- The possibility of children accidentally purchasing games.

Read this New York Times feature on freemium gaming and answer the following questions:

1) Why did Temple Run use the freemium model?

It started off as a purchasable game which was available for 99p but as the publishers started seeing a drop in the amount of customers purchasing the game, they made it free to download as they can still generate revenue from in-app purchases.

2) The bigger gaming studios like Electronic Arts used to avoid the freemium model. Why are they now embracing it?

It's become mainstream and has proven its ability to generate significant amounts of revenue.

3) Why does Peter Farago suggest independent game makers benefit more from the freemium model than the major publishers like EA?

Because audience are more likely to download a game for free from independent gamers as they wouldn't trust them without knowing much about their games in order to purchase it unlike publishers such as EA.

Electronic Arts

Read this Pocket Gamer interview with EA’s Amanda Schofield, Senior Producer on The Sims FreePlay at EA's Melbourne-based Firemonkeys studio. Answer the following questions:

1) How has The Sims FreePlay evolved since launch?

The game has developed over time offering their players a lot more options to choose from and different versions of the game for players to choose which one suits them best.

2) Why does Amanda Schofield suggest ‘games aren’t products any more’?

"Games aren’t products anymore, they’re services built in a partnership with our players. This means that functions like customer support and community management are a critical part of the game development process and must be embedded with our game teams so we not only know what our players are saying about the newest update, but we also can quickly respond to any problems that arise."

3) What does she say about The Sims gaming community?

One of the most rewarding parts of working on this game is that our community is very active and always hungry to see more features and content in the game. We’ve not had to do much more than listen and build to keep the players engaged.

4) How has EA kept the game fresh and maintained the active player base?

When we find systems that are particularly exciting to our players, we focus our efforts to build that section out a little more. There are so many more ways that each of our players have unique needs and requests when it comes to playing The Sims FreePlay, so it’s super important that we’re always finding ways to reach all of these individuals by varying the content and features we focus on.

5) How many times has the game been installed and how much game time in years have players spent playing the game? These could be great introductory statistics in an exam essay on this topic.

There have been over 200 million installs of The Sims Freeplay and the amount of game time in years players have spent in the game is 78,000.

Finally, read this blog on how EA is ruining the franchise (or not) due to its downloadable content. Answer the following questions:

1) What audience pleasures for The Sims are discussed at the beginning of the blog?

Diversion, personal identity and relationships.

2) What examples of downloadable content are presented?

- 'The Sims 4: My First Pet Stuff'

- 'The Sims 4: Cats and Dogs'

3) How did Electronic Arts enrage The Sims online communities with expansion packs and DLC?

4) What innovations have appeared in various versions of The Sims over the years?

- Range of different ages (generations)

- Increased diversity is clear in the game

- Increase in gender options

5) In your opinion, do expansion packs like these exploit a loyal audience or is it simply EA responding to customer demand?

I believe it exploits loyal audience as they don't benefit from it, rather the producers that benefit from it.

Videogames: The Sims FreePlay part 1 - Language & Audience

Videogames: The Sims FreePlay part 1 - Language & Audience

Language / Gameplay analysis

Watch The Sims: FreePlay trailer and answer the following questions:

1) What elements of gameplay are shown?

- Relationships
-Pet care

- Dream lifestyle 

- Marriage

2) What audience is the trailer targeting?

As the game is based around the idea of creating the perfect and ideal lifestyle of your dream, it mostly targeted at women as women tend to fantasise about their future and leading a better lifestyle more than men usually tend to from a young age. This therefore also means that the game is most likely targeted at females in their teens going up to their 20's. 

3) What audience pleasures are suggested by the trailer?

One of the audience pleasures suggested by the trailer is personal identity as players get the chance to try new things and construct their dream lifestyle within the game which could give them the chance to find themselves and identify their dreams and ambitions in the real world.  

Now watch this walk-through of the beginning of The Sims FreePlay and answer the following questions:

1) How is the game constructed?

The game is constructed to be seen as the ideal world where you have things happening the way you'd wish for it to and in order to play the game you'll need to look after your 'sim' and make purchases within the game to build your dream lifestyle.

2) What audience is this game targeting?

The game is targeted at a female audience as they'd be more into the idea of playing a game in which you can create your ideal life and live your 'fantasy'. 

3) What audience pleasures does the game provide?

The game offers audience pleasures such as personal identity, relationships and escapism.

4) How does the game encourage in-app purchases?

You can speed up the time it takes to build things within the game by paying for it and you can also purchase exclusive products. 

Audience

Read this App Store description and the customer reviews for The Sims FreePlay and answer the following questions:  

1) What critics reviews are included in the game information section?

- 5 STARS ...The Sims FreePlay is everything you could ever want a freemium Sims game to be.” (Gamezebo)

- “10/10 …one of the most addictive and highly polished games available and there’s no excuse for anyone to not download it; especially since it is free to play (the clue’s in the title).” (God is a Geek)

- “...plenty of hours of fun... at an excellent, non-existent, price.” (148Apps)

2) What do the reviews suggest regarding the audience pleasures of The Sims FreePlay?

The game is very similar to real life which is why is why some audience easily get trapped into the game for hours.

3) How do the reviews reflect the strong element of participatory culture in The Sims?

Reviews show how passionate players are about the game as alongside playing the game, they're also taking time off their day to give feedback on the game in order for EA to know what their audiences are enjoying or what they dislike so that they can work on it to better their experience.

Participatory culture

Read this academic journal article - The Sims: A Participatory Culture 14 Years On. Answer the following questions:

1) What did The Sims designer Will Wright describe the game as?

He described it as ‘a train set or a doll’s house where each person comes to it with their own interest and picks their own goals’

2) Why was development company Maxis initially not interested in The Sims?

The company board thought that the "doll-house" concept of the game was for "little girls and girls didn't play video games."

3) What is ‘modding’?

Modding is modifying the game with user-created content.

4) How does ‘modding’ link to Henry Jenkins’ idea of ‘textual poaching’?

'Textual poaching' refers to the contribution of consumers and audiences to a product or a franchise, through activities such as writing fanfictions, drawing fanart and cosplaying. The Sims' consumers are also consumers and audiences who have contributed to the game's production value by enabling other members of the Sims community to share and experience their creations that have been modified. Audience are able to 'own the game' by creating their own versions of different available lifestyles which gives them the opportunity to express themselves.

5) Look specifically at p136. Note down key quotes from Jenkins, Pearce and Wright on this page.

- ‘The original Sims series has the most vibrant emergent fan culture of a single-player game in history’.

- ‘There were already more than fifty fan Web sites dedicated to The Sims. Today, there are thousands’.

- ‘We were probably responsible for the first million or so units sold but it was the community which really brought it to the next level’ (ibid). Whereas the game itself gave consumers a base neighborhood, wardrobe and furniture sets to play with, the players themselves turned producers (or produsers, to cite Axel Bruns’.

6) What examples of intertextuality are discussed in relation to The Sims? (Look for “replicating works from popular culture”)

Audience have the opportunity to recreate things from popular cultures such as Star Wars and anime shows. 

7) What is ‘transmedia storytelling’ and how does The Sims allow players to create it?

"Transmedia storytelling - when the primary text encoded in an official commercial product could be dispersed over multiple media.both digital and analogue in form (Jenkins 2007)."

8) How have Sims online communities developed over the last 20 years?

The Sims online community has developed more over the years as the game offers a wider range of ethnic backgrounds and looks of characters to choose from which would've attracted more customers as they'd feel like the game is suited for them and feel a sense of belonging within the game. The fan community has also grown more and more as the game releases different versions for players to choose from and play.

9) Why have conflicts sometimes developed within The Sims online communities?

Sims gives audience to construct a lifestyle in a way they wish to and make modifications to suit their preferences which other audiences may not like and could possibly show hate towards it which could cause conflict when they decide to express their opinion. 

10) What does the writer suggest The Sims will be remembered for?

What it will be remembered for, I think, is for the cult following that it engendered
well beyond the usual lifespan of a popular computer game.

Read this Henry Jenkins interview with James Paul Gee, writer of Woman as Gamers: The Sims and 21st Century Learning (2010).

1) How is ‘modding’ used in The Sims?

"Create challenges and game play that is simultaneously in the game world, in the real world, and in writing things like graphic novels."

2) Why does James Paul Gee see The Sims as an important game?

He sees it as more than a game as it is a way players are able to express themselves.

3) What does the designer of The Sims, Will Wright, want players to do with the game?

He wants players to think like designers and create their own content around his game as a way to express themselves and things they would like to achieve. 

4) Do you agree with the view that The Sims is not a game – but something else entirely?

I can see why Sims is seen as more than just a game in some peoples eyes as unlike standard games, Sims allows its players to express themselves and feel a sense of comfort and set real life goals by putting their vision into this game and seeing how it plays out.

5) How do you see the future of gaming? Do you agree with James Paul Gee that all games in the future will have the flexibility and interactivity of The Sims?

It all depends on the type of game it is as having this much flexibility by destroy the whole gameplay element of another game as all games have their own uniqueness. 

Videogames: Final index

Videogames: Final index

1) Videogames: Women in videogames

2) Videogames: Further feminist theory

3) Learner response: OSP assessment

4) Videogames: Tomb Raider Anniversary

5) Videogames - Metroid Prime 2: Echoes

6) Videogames: Henry Jenkins - fandom and participatory culture

7) Videogames: The Sims FreePlay part 1 - Language & Audience

8) Videogames: The Sims FreePlay part 2 - Industries

9) Videogames: The Sims FreePlay part 3 - Representations

Henry Jenkins - fandom blog tasks

Henry Jenkins - fandom blog tasks

Factsheet #107 - Fandom
Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) to find Media Factsheet #107 on Fandom. Save it to USB or email it to yourself so you have access to the reading for homework. Read the whole of Factsheet and answer the following questions:


1) What is the definition of a fan?

Fan: A media consumer that consumes a particular media text more than an average consumer.

2) What the different types of fan identified in the factsheet?

Hardcore/True Fan - Hard core fans identify themselves as the ‘insiders’ within any given fandom and consider themselves to be aficionados of their chosen media text. They take pride in how long they have been a fan and also the quantity and quality of the knowledge they have amassed whilst being a fan.

Newbie - Newbies, as the name suggests, are new fans of any given text and do not have
the longevity of devotion or depth of knowledge that hard core fans have and are
initially viewed as the ‘outgroup’ within fandoms.

Anti-fan -‘Anti-fans’ are those which identify themselves with media texts but negatively so; they loathe or hate the text but unlike ‘true’ fans they do not form their relationship
with a text through close readings, they develop their emotional attachment ‘at a
distance’ (Gray) through marketing publicity such as trailers. Hills argues that the
‘anti-fan’ seems to be a negative stereotype of a text or genre such as ‘all people who
watch chick flicks are dim’ or ‘people who watch horror must be sick in the head’.

3) What makes a ‘fandom’?

Fandoms exhibit a ‘passion that binds enthusiasts in the manner of people who share a secret — this secret just happens to be shared with millions of others'. 

4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?

Bordieu argues: "cultural capital of fandom confers a symbolic power and status for the fan, especially within the realm of their fandom."

5) What examples of fandom are provided on pages 2 and 3 of the factsheet?

- A Liverpool fans bedroom. 

-Fanart of The Walking Dead. 

- Fan-art and videos: fans created the universe of their craved relationships within their desired texts such as Harry Potter and Hermione Granger get together instead of Ron Weasley and Hermione.

6) Why is imaginative extension and text creation a vital part of digital fandom?

Imaginative extension and text creation are a vital part of digital fandom because without it fans won't be able to express themselves/their opinions on certain issues or the narrative. They wouldn't be able to create stuff like fanfictions. 

Tomb Raider and Metroid fandom researchLook at this Tomb Raider fansite and answer the following questions: 

1) What types of content are on offer in this fansite?

- Games 
- Comics
- Quizzes
- Wallpapers

2) What does the number of links and content suggest about the size of the online fan community for Tomb Raider and Lara Croft? Pick out some examples from this page.

The large number of links and contents definitely suggests that there is a massive fan following for the game which is also most likely worldwide. 

3) Scroll to the bottom of the page and look at the short ‘About me’ bio and social media updates. Is this a typical example of ‘fandom’ in the digital age? Why?

Now look at this Metroid fansite and answer the following: 

1) What does the site offer?

- Games 
- Features
- Social media links
- Debates

2) Look at the Community Spotlight page. What does this suggest about the types of people who enjoy and participate in fan culture?

As the game plays such an important role in their fans lives, they feel the need to engage with it or something related to it even when not playing. 

3) There is a specific feature on Metroid Prime 2: Echoes. What do the questions from fans tell you about the level of engagement and interest in the game and franchise from the fan community?

The wide range of questions from the fans suggests that they are extremely committed to these franchises and games.


Henry Jenkins: degree-level readingRead the final chapter of ‘Fandom’ – written by Henry Jenkins. This will give you an excellent introduction to the level of reading required for seminars and essays at university as well as degree-level insight into our current work on fandom and participatory culture. Answer the following questions:

1) There is an important quote on the first page: “It’s not an audience, it’s a community”. What does this mean?

It means that the idea of an audience has changed in recent history. While there are fans who don't belong to fandoms and are more casual; modern culture and the way modern texts are promoted is through the creation of such fandoms, it has become the norm and is wildly supported by millions of people around the world. The audience have become more like a community rather than just normal audience in modern days. 

2) Jenkins quotes Clay Shirky in the second page of the chapter. Pick out a single sentence of the extended quote that you think is particularly relevant to our work on participatory culture and the ‘end of audience’ (clue – look towards the end!)

3) What are the different names Jenkins discusses for these active consumers that are replacing the traditional audience?

- Influencers
- Prosumers
- Connectors
- Inspirational consumers. 

4) On the third page of the chapter, what does Wired editor Chris Anderson suggest regarding the economic argument in favour of fan communities?

'Investing in niche properties with small but committed consumer bases may make economic sense if you can lower costs of production and replace marketing costs by building a much stronger network with your desired consumers.'

5) What examples does Jenkins provide to argue that fan culture has gone mainstream?

The main example Jenkins provides is the fact that fan culture is no longer associated with the stereotypically 'geeky' fan, they are now all types of fans that don't necessarily fit the stereotype.

6) Look at the quote from Andrew Blau in which he discusses the importance of grassroots creativity. Pick out a sentence from the longer quote and decide whether you agree that audiences will ‘reshape the media landscape from the bottom up’.

"The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course." I agree with this quote as it talks about the growth and progress of media in the digital age and says that everyone has the potential to become content creators. 

7) What does Jenkins suggest the new ideal consumer is?

Jenkins suggests that the new ideal consumer is one that basically provides free advertising through sharing and communication. 

8) Why is fandom 'the future'?

Fandom is the 'future' because consumption is social and spread by actively consumers through social media. 

9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?

That we shouldn't be promoting this process as larger media companies are exploiting products being produced by fans which means the fans aren't getting the recognition nor credit for their efforts. 

10) Read through to the end of the chapter. What do you think the future of fandom is? Are we all fans now? Is fandom mainstream or are real fan communities still an example of a niche media audience?

As fandoms have started to become more increasingly popular, they're going to become more normalised in future years compared to now as more and more people join this 'circle'. 

January PPE learner response

January PPE learner response

1) Type up your feedback in full (you do not need to write mark/grade if you do not wish to).

WWW: There is a lot of potential here: your Q7 answer is brilliant but then doesn't cover the second CSP (timing issues?)

If you can work on a couple of aspects of exam technique you should be looking for a B+ grade.

EBI: The unseen question (Q1) is a major weakness so practice this. 

Remember to provide specific examples from the CSP.

Revise fandom and Chicken. 

2) Did you succeed in meeting or exceeding your target grade for A Level Media? If not, how many additional marks do you need to achieve your target grade in this paper?

I was 6 marks away from meeting my target grade. 

The grade boundaries for this paper:

A* = 78; A = 68; B = 56; C = 46; D = 36; E = 26.

Now read through the AQA mark scheme. This is vital as the paper was an official specimen exam paper and therefore the mark scheme tells us a lot about what AQA are expecting us to produce. The original question paper is here if that is helpful too.

3) Write a question-by-question analysis of your performance. For each question, write how many marks you got from the number available and identify any points that you missed by carefully studying the AQA indicative content in the mark scheme:

Q1 - (8 marks)
Additional points: missing how the different modes and language associated with different media forms communicate multiple meanings.
Missing the element of clear and sometimes engages with the nuanced aspects of how media language is used to construct meaning in the album launch poster.
Q2 - (12 marks)
Didn't talk enough about the way events, issues, individuals (including self-representation) and social groups are represented through processes of selection and combination.
Not enough accurate understanding of the theoretical framework that is demonstrated by
consistently appropriate explanation of the representations of music and musical acts in the products.
Q3 - (9 marks)
Need more analysis of the product that is detailed and critically engages with ideas about narrative and how they relate to the CSP.
Need to include excellent, astute judgements and conclusions that are consistently well supported by relevant analysis.
Q4 - (20 marks)
Need better understanding of the theoretical framework that is demonstrated by frequent appropriate consideration of ideas about gender performativity.
Should include consistent highly appropriate use of subject specific terminology throughout.
Q5 - (6 marks)
Revise keywords and memorise definitions. 
Q6 - (9 marks)
Need to improve knowledge and understanding of the influences of the media contexts on media products that is consistently supported by highly appropriate and effective reference to the set product.
Include more subject specific terminology throughout the answer. 
Q7 - (20 marks)
Make sure to talk thoroughly about both CSPs; set out enough time so that you are able to talk about both CSPs in-depth. 
Talk about how media producers target, attract, reach, address and potentially construct audiences through the ways in which they are marketed, distributed and circulated for both the given CSPs.

Example: Q1: 5/8 marks
Additional points: didn't mention codes and conventions of music promotion flier/poster;  didn't discuss unconventional focus on mouth rather than eyes; didn't discuss idea that gender stereotypes are ironically reinforced to emphasise 'outsider' element of artist.

4) Look at Question 4 - a 20-mark essay evaluating how useful Judith Butler's theory of gender performativity is. Write a full essay plan for this question using the indicative content in the mark scheme and with enough content to meet the criteria for Level 4 (top level). This will be somewhere between 4-6 well-developed paragraphs planned in some detail.

Intro - talk about how far you agree with the statement and start explaining why you agree or disagree with the statement and the usefulness of it. 
Paragraph 1 - Starting talking in more detail by applying the theory to one of the CSPs. How the statement links or doesn't link to the CSP and how you can analyse this. 
Paragraph 2 - build your argument up more by talking about the second CSP and link it to the statement and your side of the argument. Once again, talk about how the statement links or doesn't link to the CSP and how you can analyse this. Apply other theories to support your point if possible. 
Paragraph 3 - bring both CSPs together showing similarities in them and how they could both used as evidence to argue your point/opinion on the statement. Talk about the other side of the argument and how that side could also work and why. Apply other theories to support your point if possible. 
Conclusion - summarise your argument by linking back to the question and revise your opinion again.  End the argument by giving a balanced reasoning for both sides.

5) Based on the whole of your Paper 1 learner response, plan FIVE topics / concepts / CSPs / theories that you will prioritise in your summer exam Media revision timetable.

- I need to revise media language and representations

- Do more exam practice on unseen questions to get familiar to those types of questions. 

- Work on how to apply theory to specific CSPs. 

- Revise all CSPs from year 12 in detail. 

- 

Metroid Prime 2: Echoes

Metroid Prime 2: Echoes - blog tasks

Create a new blogpost called 'Metroid Prime 2: Echoes case study' and complete the following in-depth tasks.

Language

Analyse the game cover for Metroid Prime 2: Echoes (above).

1) How does the cover communicate the genre of the game?

Seeing the props in the image; use of weapons straight away suggests that action is one of the genres of the game. Seeing aliens and surreal characters/insects also represents the sci-fi elements to the game. 

2) What does the cover suggest regarding gameplay and audience pleasures?

On the back of the cover, there's an image showing the screen spilt into 4 segments which shows the multiplayer element to the game meaning audience would be able to play i tin groups and not only individually. 

3) Does the cover sexualise the character of Samus Aran? Why/why not?

I believe the cover doesn't sexualise the character because you can't see her face or figure as she's dressed in a sci-fi suit which avoids sexualising the character and marketing her in a way to attract male gaze.

Trailer analysis

Watch the trailer for the game:

1) What do you notice about genre?

The trailer reflects a lot of the sci-fi genre through the characters shown and weapons which also links to the action genre.  

2) How is the character introduced? Is Samus Aran obviously female?

There's nothing that obviously shows Samus Aran is a female character which would be to make the game gender neutral and attract both genders to the game. Throughout the trailer there isn't much that reveals her gender nor sexualises her which is a big change for females in the video-games industry. 

3) How can we apply Steve Neale’s genre theory that discusses “repetition and difference”?

There is some repetition this trailer has as there are typical conventions that you'd find in a sci-fi/action video-game trailer such as use of weapons, the colour theme scene throughout, the non-diegetic sound etc. The difference would be using a female protagonist and not revealing the gender during the game to keep it neutral and non-sexual. 

Gameplay analysis

Watch the following gameplay clips again:

1) What does the gameplay for Metroid Prime 2: Echoes involve?

The gameplay includes first person shooter giving audience control over what the protagonist does in the game and gives them a real feel of being in the game and a sense of escapism. 

2) Write an analysis of the media language choices in the construction of the game: e.g. genre, narrative, mise-en-scene, camera shots etc.

As a game that gives a first person shooter experience to audience, their visuals are close to a hand held camera angle and is designed to be seen as the view being Samus Aran. In terms of mise-en-scene; although the setting is dark, the weapons and the characters give off bright and powerful colours which reflects the sci-fi genre. 

3) Analyse the clips for audience pleasures, applying audience theory and considering media effects.

Audience

Research the audience for Nintendo and specifically the Metroid franchise, including Metroid Prime 2: Echoes. You may wish to start with the following pages:

Reddit discussion of why people play Metroid
Giant Bomb forum: Who exactly is Nintendo’s demographics?
Reset Era: Nintendo’s audience getting older

1) Who might the target audience be for Metroid Prime 2: Echoes, based on your research? Discuss demographics and psychographics.

For a Nintendo game, the target audience for Metroid Prime 2 is quite different as this game includes more action and is more for teenage and young adults rather than children as it has similarities to other games such as Call of Duty. 

2) How has Nintendo’s audience changed since the original Metroid game in 1986?

Nintendo's target audience has changed as they seem to be aiming their games at different age groups now rather than only targeting younger audience. This could be because those that played Nintendo games when they were younger would still want to play it as they grow up so Nintendo have created content a bit more mature for them. 

3) What audience pleasures are offered by Metroid Prime 2: Echoes or the wider Metroid franchise?

Metroid Prime 2 offers audience pleasures such as personal identity, diversion and personal relationships. 

4) What effects might Metroid have on audiences? Apply media effects theories (e.g. Bandura’s social learning theory, Gerbner’s cultivation theory).

Metroid may have an effect on the way in which audience view women as they are represented in a more positive and bold way in this game in-comparison to other videogames where they sexualise women and use them as an object to attract male gaze. 

Read this Gamesparks feature on gaming demographics and answer the following questions:

1) Who is considered to be the stereotypical gamer?

The stereotypical gamer would be a adolescent male. 

2) What has changed this?

The growth in technology and being able to play games on smartphones has had an impact on this as over the years around 50% of gamers are now women. 

3) What role do women play in the videogames market? Quote statistics from the article here.

Women contribute to the success of video games as  50% of gamers are female.
According to statistics, only 37%- men own a games console.

4) Why are older gamers becoming a particularly important market for videogames producers? How can you link this to the Metroid franchise?

In this generation, the age of the average gamer is 35. This has increased over the years as those who grew up playing videogames still continue to play them as they age even if the pleasures they get out of playing could change over years. 

5) What does the article suggest regarding audience pleasures and expectations for different generations of gamer?

The article talks about how the younger generation gets more satisfaction and pleasure out of the idea of competition and playing to win which then changes over the years as they get older and older. Many older audiences play to gain the pleasure and satisfaction of re-living their childhood. 

Industries

Read this Destructoid blog on the Metroid franchise. Answer the following:

1) Why has Metroid never quite fitted with the Nintendo brand?

It doesn't quite fit into Nintendo as Metroid belongs to the sci-fi genre which is different to the usual genre of the games Nintendo produces. 

2) What franchises have overtaken Metroid in the sci-fi hyper-realism genre in recent years?

New franchises such as:
- Halo
- Mass Effect
- No Man's Sky

3) Why does the writer link old boy bands from the music industry to the Metroid franchise? Do you agree with this reading of the brand?

The similarity is that both boy bands and videogames eventually lose their popularity when newer products in the same industry come alone and take over.

4) What is an ‘AAA’ or ‘triple-A game’ in the videogames industry?

5) Do you think there will be further Metroid games featuring Samus Aran? Should there be?

I believe that Samus Aran would still feature in future Metroid games as she has become a popular and iconic character that represents women empowerment. 

Representation

Read this BBC3 feature on Samus Aran and answer the questions below:

1) What was notable about the original Metroid game in 1986?

The game structure and the uniquness of the reward. The aim of the game was to finish as soon as possible and once this was done they had the reward of Samus Aran's face being revealed which is when they came to find the character is actually a female and not a male.

2) What were the inspirations behind the gameplay and construction of Metroid?

Metroid does include some intertextuality as the main objective of the game to finish as fast as possible comes from other games including Nintendo games such as Mario Kart where in order to get to the finish line first, you need to drive as fast as you can. 

3) Why are the endings to the original Metroid considered controversial?

As the reward was seeing Samus Aran take her clothes off and reveal her body depending on how long you took to finish the game which reinforced the idea of sexualising women in videogames.

4) What reaction do you think the reveal of Samus Aran in a bikini would have got when the game was first released in 1986? Have attitudes towards women changed?

Although players would've been shocked to see that it was a women that was the main character as the role would traditionally be expected to be played by a male. There wouldn't have been much controversy about seeing her in a bikini as it was normal for women to be sexualised especially in the media and there weren't as many feminists fighting against this. 

5) How have later versions of the Metroid franchise sexualised the character of Samus Aran?

In later versions of Metroid there hasn't been any obvious sexualisation of Samus Aran as they've changed the reward system and you don't see Samus Aran taking her clothes off according to how fast you finished the game anymore.

6) How can we apply Liesbet van Zoonen’s work to Samus Aran and Metroid?

Van Zoonen's theory is that gender is structured through society and the media. Metroid provides evidence for her theory as it comes to show when players get shocked seeing that Samus Aran is a female at the end of the game as they typically expect a male to take on that sort of role. 

7) What did Brianna Wu suggest regarding the character of Samus Aran?

8) Do you see Samus Aran as a feminist icon or simply another exploited female character?

I see Samus Aran as a feminist icon following the changes in newer metroid games as she is no longer sexualised in the games and is the first female protagonist in the videogames industry. 
Read this Houston Press feature on Samus Aran and entitled male gamers. Answer the following questions:

1) What does Anita Sarkeesian suggest regarding Samus Aran?

The female reveal of Samus Aran's increasingly naked body is used as a reward for male skill

2) Why does Brianna Wu (and others) suggest Samus Aran may be transgender?

The original design for Samus showed her being 6'3" in height, with a very muscular appearance; traits of which are associated with the typical male. The designer of Samus's character also referred to her as a 'new half'.

3) Why is Samus Aran useful for male gamers trying to argue videogames are not sexist?

Because she is an empowering female character doing and playing traditionally male roles in games.

4) Why are Lara Croft, Zelda and Peach not ideal examples to argue for female equality in videogames?

Because they have clearly been sexualised in videogames for male players to gain pleasure rather than to show a strong and powerful female. 

5) What does the ‘SJW’ in ‘SJW-gender politics’ refer to?

'Social Justice Warrior'

6) How can we apply Gerbner’s Cultivation theory to representations of women in videogames as discussed in the article? How might this lead to ‘entitled male gamers’? 

The idea of coming to find out Samus is a female as the reward for winning can make men see women as just prizes for their achievements rather than respecting them as individuals. 

7) Does the videogame industry have a problem with gender? Provide evidence for your argument.

Other than Samus Aran, majority of female characters in the videogames industry are sexualised and used for male gaze and to attract male gamers as playing videogames is typically seen as a male's thing to do.